Entre o sonoro e o visual: relações e processos nas artes

Pós-graduação em Artes - IA

Visual Speech Segmentation: Using Facial Cues to Locate Word Boundaries in Continuous Speech

Speech is typically a multimodal phenomenon, yet few studies have focused on the exclusive contributions of visual cues to language acquisition. To address this gap, we investigated whether visual prosodic information can facilitate speech segmentation. Previous research has demonstrated that language learners can use lexical stress and pitch cues to segment speech and that learners can extract this information from talking faces. Thus, we created an artificial speech stream that contained minimal segmentation cues and paired it with two synchronous facial displays in which visual prosody was either informative or uninformative for identifying word boundaries. Across three familiarisation conditions (audio stream alone, facial streams alone, and paired audiovisual), learning occurred only when the facial displays were informative to word boundaries, suggesting that facial cues can help learners solve the early challenges of language acquisition.

"Army of One" to "Army Strong" : visual media and U.S. Army recruitment during Bush"s "War on Terror"

From Bush’s September 20, 2001 “War on Terror” speech to Congress to President-Elect Barack Obama’s acceptance speech on November 4, 2008, the U.S. Army produced visual recruitment material that addressed the concerns of falling enlistment numbers—due to the prolonged and difficult war in Iraq—with quickly-evolving and compelling rhetorical appeals: from the introduction of an “Army of One” (2001) to “Army Strong” (2006); from messages focused on education and individual identity to high-energy adventure and simulated combat scenarios, distributed through everything from printed posters and music videos to first-person tactical-shooter video games. These highly polished, professional visual appeals introduced to the American public during a time of an unpopular war fought by volunteers provide rich subject matter for research and analysis. This dissertation takes a multidisciplinary approach to the visual media utilized as part of the Army’s recruitment efforts during the War on Terror, focusing on American myths—as defined by Barthes—and how these myths are both revealed and reinforced through design across media platforms. Placing each selection in its historical context, this dissertation analyzes how printed materials changed as the War on Terror continued. It examines the television ad that introduced “Army Strong” to the American public, considering how the combination of moving image, text, and music structure the message and the way we receive it. This dissertation also analyzes the video game America’s Army, focusing on how the interaction of the human player and the computer-generated player combine to enhance the persuasive qualities of the recruitment message. Each chapter discusses how the design of the particular medium facilitates engagement/interactivity of the viewer. The conclusion considers what recruitment material produced during this time period suggests about the persuasive strategies of different media and how they create distinct relationships with their spectators. It also addresses how theoretical frameworks and critical concepts used by a variety of disciplines can be combined to analyze recruitment media utilizing a Selber inspired three literacy framework (functional, critical, rhetorical) and how this framework can contribute to the multimodal classroom by allowing instructors and students to do a comparative analysis of multiple forms of visual media with similar content.

Visual acuity of dentists under simulated clinical conditions

OBJECTIVES This study examined the near visual acuity of dentists in relation to age and magnification under simulated clinical conditions. MATERIALS AND METHODS Miniaturized visual tests were performed in posterior teeth of a dental phantom head in a simulated clinical setting (dental chair, operating lamp, dental mirror). The visual acuity of 40 dentists was measured under the following conditions: (1) natural visual acuity, distance of 300 mm; (2) natural visual acuity, free choice of distance; (3) Galilean loupes, magnification of ×2.5; (4) Keplerian loupes, ×4.3; (5) operating microscope, ×4, integrated light; (6) operating microscope, ×6.4, integrated light. RESULTS The visual acuity varied widely between individuals and was significantly lower in the group ≥40 years of age (p < 0.001). Significant differences were found between all tested conditions (p < 0.01). Furthermore, a correlation between visual acuity and age was found for all conditions. The performance with the microscope was better than with loupes even with comparable magnification factors. Some dentists had a better visual acuity without optical aids than others with Galilean loupes. CONCLUSIONS Near visual acuity under simulated clinical conditions varies widely between individuals and decreases throughout life. Visual deficiencies can be compensated for with optical aids. CLINICAL RELEVANCE Newly developed miniaturized vision tests have allowed, in a clinically relevant way, to evaluate the influence of magnification and age on the near visual acuity of dentists.

Visual acuity of dentists in their respective clinical conditions.

OBJECTIVES This study examined the impact of age and magnification on the near visual acuity of dentists in their private practice under simulated clinical conditions. MATERIALS AND METHODS Miniaturized visual tests were fixed in posterior teeth of a dental phantom head and brought to 31 dentists in their respective private practice. The visual acuity of these dentists (n = 19, ≥40 years; n = 12, <40 years) was measured in a clinical setting under the following conditions: (a) natural visual acuity, distance of 300 mm; (b) natural visual acuity, free choice of the distance; and (c) loupe and additional light source, if available. RESULTS The visual acuity under the different clinical conditions varied widely between individuals. The older group of dentists had a lower median visual acuity value under all clinical conditions. This difference was highly significant for natural visual acuity at a free choice of distance (p < 0.0001). For younger dentists (<40 years), visual acuity could be significantly improved by reducing the eye-object distance (p = 0.001) or by using loupes (p = 0.008). For older dentists (≥40 years), visual acuity could be significantly improved by using loupes (p = 0.0005). CONCLUSIONS Visual performance decreased with increasing age under the specific clinical conditions of each dentist's private practice. Magnification aids can compensate for visual deficiencies. CLINICAL RELEVANCE The question of whether findings obtained under standardized conditions are valuable for the habitual setting of each dentist's private practice seems clinically relevant.

Visual Acuity and Experience with Magnification Devices in Swiss Dental Practices

OBJECTIVES The aims of the present study in Swiss dental practices were 1) to provide an update on the prevalence of different magnification devices, 2) to examine the relationship between self-assessed and objectively measured visual acuity, and 3) to evaluate the visual performance of dentists in the individually optimized clinical situation of their respective practices. METHODS AND MATERIALS Sixty-nine dentists from 40 randomly selected private practices (n=20, <40 years; n=49, ≥40 years) participated in the study. A questionnaire was provided to evaluate the self-assessed near visual acuity and the experience with magnification devices. The objective near visual acuity was measured under standardized conditions on a negatoscope. The clinical situation, including the use of habitual optical aids, was evaluated with visual tests on a phantom head. RESULTS A total of 64% of the dentists owned a dental loupe: 45% Galilean loupes, 16% Keplerian loupes, and 3% single lens loupes. In total, 19% of the questioned dentists owned a microscope in addition to the loupes. The correlation between the self-assessed and the objective visual performance of the dentists was weak (Spearman rank correlation coefficient=0.25). In the habitual clinical situation, magnification devices (p=0.03) and the dentist's age (p=0.0012) had a significant influence on the visual performance. CONCLUSIONS Many dentists were not aware of their visual handicaps. Optical aids such as loupes or microscopes should be used early enough to compensate for individual or age-related visual deficiencies.

Organic geochemistry, visual composition, atomic ratios, and reflectance at DSDP Site 87-582, 87-583 and 87-584

Geochemical analyses of organic matter were carried out on Quaternary sediments from Sites 582 and 583 (Nankai Trough) and on Pliocene to Miocene sediments from Site 584 (Japan Trench), DSDP Leg 87, to evaluate petroleum-generating potential and to characterize the organic matter. The vitrinite-huminite reflectances of indigenous materials for these sites are less than 0.3% indicating the immature nature of the sediments. The sediments, however, contain remarkable amounts of recycled organic materials. The Quaternary sediments from Sites 582 and 583 contain small amounts of amorphous organic matter (less than 0.75 wt.% organic carbon and 66-90% amorphous debris), which is composed of predominantly recycled, oxidized, and over-matured (or matured) Type III material. The amount of hydrocarbon yield indicates that those sediments have lean-source potential for commercial hydrocarbon generation. The Pliocene to Miocene sediments from Site 584 contain organic matter (0.3-1.09 wt.% organic carbon) of predominantly amorphous debris (68-96%) that originated in two sources, an indigenous Type II material and a recycled, over-matured material. Pyrolysis shows an upward increase in the section of hydrocarbon yield and the same trend is also observed in organic-carbon content. The amount of the yield indicates that the Miocene sediments have lean-to-fair source potential and the Pliocene sediments have fair-to-good source potential.

Acoustic records of the underwater soundscape at PALAOA with links to audio stream files, 2005-2011

Scientific background: Marine mammals use sound for communication, navigation and prey detection. Acoustic sensors therefore allow the detection of marine mammals, even during polar winter months, when restricted visibility prohibits visual sightings. The animals are surrounded by a permanent natural soundscape, which, in polar waters, is mainly dominated by the movement of ice. In addition to the detection of marine mammals, acoustic long-term recordings provide information on intensity and temporal variability of characteristic natural and anthropogenic background sounds, as well as their influence on the vocalization of marine mammals Scientific objectives: The PerenniAL Acoustic Observatory in the Antarctic Ocean (PALAOA, Hawaiian "whale") near Neumayer Station is intended to record the underwater soundscape in the vicinity of the shelf ice edge over the duration of several years. These long-term recordings will allow studying the acoustic repertoire of whales and seals continuously in an environment almost undisturbed by humans. The data will be analyzed to (1) register species specific vocalizations, (2) infer the approximate number of animals inside the measuring range, (3) calculate their movements relative to the observatory, and (4) examine possible effects of the sporadic shipping traffic on the acoustic and locomotive behaviour of marine mammals. The data, which are largely free of anthropogenic noise, provide also a base to set up passive acoustic mitigation systems used on research vessels. Noise-free bioacoustic data thereby represent the foundation for the development of automatic pattern recognition procedures in the presence of interfering sounds, e.g. propeller noise.

Measuring color differences in gonioapparent materials used in the automotive industry

This paper illustrates how to design a visual experiment to measure color differences in gonioapparent materials and how to assess the merits of different advanced color-difference formulas trying to predict the results of such experiment. Successful color-difference formulas are necessary for industrial quality control and artificial color-vision applications. A color- difference formula must be accurate under a wide variety of experimental conditions including the use of challenging materials like, for example, gonioapparent samples. Improving the experimental design in a previous paper [Melgosaet al., Optics Express 22, 3458-3467 (2014)], we have tested 11 advanced color-difference formulas from visual assessments performed by a panel of 11 observers with normal colorvision using a set of 56 nearly achromatic colorpairs of automotive gonioapparent samples. Best predictions of our experimental results were found for the AUDI2000 color-difference formula, followed by color-difference formulas based on the color appearance model CIECAM02. Parameters in the original weighting function for lightness in the AUDI2000 formula were optimized obtaining small improvements. However, a power function from results provided by the AUDI2000 formula considerably improved results, producing values close to the inter-observer variability in our visual experiment. Additional research is required to obtain a modified AUDI2000 color-difference formula significantly better than the current one.

3D Visual Data-Driven Spatiotemporal Deformations for Non-Rigid Object Grasping Using Robot Hands

Sensing techniques are important for solving problems of uncertainty inherent to intelligent grasping tasks. The main goal here is to present a visual sensing system based on range imaging technology for robot manipulation of non-rigid objects. Our proposal provides a suitable visual perception system of complex grasping tasks to support a robot controller when other sensor systems, such as tactile and force, are not able to obtain useful data relevant to the grasping manipulation task. In particular, a new visual approach based on RGBD data was implemented to help a robot controller carry out intelligent manipulation tasks with flexible objects. The proposed method supervises the interaction between the grasped object and the robot hand in order to avoid poor contact between the fingertips and an object when there is neither force nor pressure data. This new approach is also used to measure changes to the shape of an object’s surfaces and so allows us to find deformations caused by inappropriate pressure being applied by the hand’s fingers. Test was carried out for grasping tasks involving several flexible household objects with a multi-fingered robot hand working in real time. Our approach generates pulses from the deformation detection method and sends an event message to the robot controller when surface deformation is detected. In comparison with other methods, the obtained results reveal that our visual pipeline does not use deformations models of objects and materials, as well as the approach works well both planar and 3D household objects in real time. In addition, our method does not depend on the pose of the robot hand because the location of the reference system is computed from a recognition process of a pattern located place at the robot forearm. The presented experiments demonstrate that the proposed method accomplishes a good monitoring of grasping task with several objects and different grasping configurations in indoor environments.

Automobile friction materials: a test instrument and technique for determining dynamic mechanical properties in relation to brake squeal

This study is primarily concerned with the problem of break-squeal in disc brakes, using moulded organic disc pads. Moulded organic friction materials are complex composites and due to this complexity it was thought that they are unlikely to be of uniform composition. Variation in composition would under certain conditions of the braking system, cause slight changes in its vibrational characteristics thus causing resonance in the high audio-frequency range. Dynamic mechanical propertes appear the most likely parameters to be related to a given composition's tendency to promote squeal. Since it was necessary to test under service conditions a review was made of all the available commercial test instruments but as none were suitable it was necessary to design and develop a new instrument. The final instrument design, based on longitudinal resonance, enabled modulus and damping to be determined over a wide range of temperatures and frequencies. This apparatus has commercial value since it is not restricted to friction material testing. Both used and unused pads were tested and although the cause of brake squeal was not definitely established, the results enabled formulation of a tentative theory of the possible conditions for brake squeal. The presence of a temperature of minimum damping was indicated which may be of use to braking design engineers. Some auxilIary testing was also performed to establish the effect of water, oil and brake fluid and also to determine the effect of the various components of friction materials.

System-on-a-Chip (SOC) based environmental monitoring platform for the detection of hazardous materials

The purpose of this research is design considerations for environmental monitoring platforms for the detection of hazardous materials using System-on-a-Chip (SoC) design. Design considerations focus on improving key areas such as: (1) sampling methodology; (2) context awareness; and (3) sensor placement. These design considerations for environmental monitoring platforms using wireless sensor networks (WSN) is applied to the detection of methylmercury (MeHg) and environmental parameters affecting its formation (methylation) and deformation (demethylation). ^ The sampling methodology investigates a proof-of-concept for the monitoring of MeHg using three primary components: (1) chemical derivatization; (2) preconcentration using the purge-and-trap (P&T) method; and (3) sensing using Quartz Crystal Microbalance (QCM) sensors. This study focuses on the measurement of inorganic mercury (Hg) (e.g., Hg2+) and applies lessons learned to organic Hg (e.g., MeHg) detection. ^ Context awareness of a WSN and sampling strategies is enhanced by using spatial analysis techniques, namely geostatistical analysis (i.e., classical variography and ordinary point kriging), to help predict the phenomena of interest in unmonitored locations (i.e., locations without sensors). This aids in making more informed decisions on control of the WSN (e.g., communications strategy, power management, resource allocation, sampling rate and strategy, etc.). This methodology improves the precision of controllability by adding potentially significant information of unmonitored locations.^ There are two types of sensors that are investigated in this study for near-optimal placement in a WSN: (1) environmental (e.g., humidity, moisture, temperature, etc.) and (2) visual (e.g., camera) sensors. The near-optimal placement of environmental sensors is found utilizing a strategy which minimizes the variance of spatial analysis based on randomly chosen points representing the sensor locations. Spatial analysis is employed using geostatistical analysis and optimization occurs with Monte Carlo analysis. Visual sensor placement is accomplished for omnidirectional cameras operating in a WSN using an optimal placement metric (OPM) which is calculated for each grid point based on line-of-site (LOS) in a defined number of directions where known obstacles are taken into consideration. Optimal areas of camera placement are determined based on areas generating the largest OPMs. Statistical analysis is examined by using Monte Carlo analysis with varying number of obstacles and cameras in a defined space. ^

Using sonic enhancement to augment non-visual tabular navigation

More information is now readily available to computer users than at any time in human history; however, much of this information is often inaccessible to people with blindness or low-vision, for whom information must be presented non-visually. Currently, screen readers are able to verbalize on-screen text using text-to-speech (TTS) synthesis; however, much of this vocalization is inadequate for browsing the Internet. An auditory interface that incorporates auditory-spatial orientation was created and tested. For information that can be structured as a two-dimensional table, links can be semantically grouped as cells in a row within an auditory table, which provides a consistent structure for auditory navigation. An auditory display prototype was tested.^ Sixteen legally blind subjects participated in this research study. Results demonstrated that stereo panning was an effective technique for audio-spatially orienting non-visual navigation in a five-row, six-column HTML table as compared to a centered, stationary synthesized voice. These results were based on measuring the time- to-target (TTT), or the amount of time elapsed from the first prompting to the selection of each tabular link. Preliminary analysis of the TTT values recorded during the experiment showed that the populations did not conform to the ANOVA requirements of normality and equality of variances. Therefore, the data were transformed using the natural logarithm. The repeated-measures two-factor ANOVA results show that the logarithmically-transformed TTTs were significantly affected by the tonal variation method, F(1,15) = 6.194, p= 0.025. Similarly, the results show that the logarithmically transformed TTTs were marginally affected by the stereo spatialization method, F(1,15) = 4.240, p=0.057. The results show that the logarithmically transformed TTTs were not significantly affected by the interaction of both methods, F(1,15) = 1.381, p=0.258. These results suggest that some confusion may be caused in the subject when employing both of these methods simultaneously. The significant effect of tonal variation indicates that the effect is actually increasing the average TTT. In other words, the presence of preceding tones increases task completion time on average. The marginally-significant effect of stereo spatialization decreases the average log(TTT) from 2.405 to 2.264.^

“Art Will Not Disappear Into Nothing; It Will Disappear Into Everything“: The Black Audio Film Collective and Latin America

The development of Latin American cinema in the 1960s was underwritten by a number of key texts that outlined the aesthetic and political direction of individual filmmakers and collectives (Solanas and Getino, 1969; Rocha, 1965; Espinosa, 1969). Although asserting the specificity of Latin American culture, the theoretical foundations of its New Wave influenced oppositional filmmaking way beyond its own regional boundaries. This chapter looks at how movements in British art cinema, especially the Black Audio Film Collective, were inspired and propelled by the theories behind New Latin American cinema. Facilitated by English translations in journals such as Jump Cut in the early ‘80s, Cuban and Argentine cinematic manifestoes provided a radical alternative to the traditional language of film theory available to filmmakers in Europe and works such as Signs of Empire (1983-4); Handsworth Songs (1986) and Seven Songs for Malcolm X (1993) grew out of this trans-continental exchange. The Black Audio Film Collective represented a merging of politics, popular culture, and art that was, at once, oppositional and melodic. Fusing postcolonial discourse with pop music, the avant-garde and re-imaginings of subalternity, the work of ‘The Collective’ provides us with a useful example of how British art cinema has drawn from theoretical foundations formed outside of Europe and the West. As this chapter will argue however, the Black Audio Film Collective’s work can also be read as a reaction to the specificity of British socio-politics of the ‘80s and ‘90s. Its engagement with the aesthetico-political strategies of Latin American cinema, then, undercut what was a solidly British project, rooted in (post)colonial history and emerging ideas of disaporic identity. If the propulsive thrust of The Black Audio Film Collective’s art was shaped by Third Cinema, its images and concerns were self-consciously British.

The Role of Art in Computer Game Design

Computer games are significant since they embody our youngsters’ engagement with contemporary culture, including both play and education. These games rely heavily on visuals, systems of sign and expression based on concepts and principles of Art and Architecture. We are researching a new genre of computer games, ‘Educational Immersive Environments’ (EIEs) to provide educational materials suitable for the school classroom. Close collaboration with subject teachers is necessary, but we feel a specific need to engage with the practicing artist, the art theoretician and historian. Our EIEs are loaded with multimedia (but especially visual) signs which act to direct the learner and provide the ‘game-play’ experience forming semiotic systems. We suggest the hypothesis that computer games are a space of deconstruction and reconstruction (DeRe): When players enter the game their physical world and their culture is torn apart; they move in a semiotic system which serves to reconstruct an alternate reality where disbelief is suspended. The semiotic system draws heavily on visuals which direct the players’ interactions and produce motivating gameplay. These can establish a reconstructed culture and emerging game narrative. We have recently tested our hypothesis and have used this in developing design principles for computer game designers. Yet there are outstanding issues concerning the nature of the visuals used in computer games, and so questions for contemporary artists. Currently, the computer game industry employs artists in a ‘classical’ role in production of concept sketches, storyboards and 3D content. But this is based on a specification from the client which restricts the artist in intellectual freedom. Our DeRe hypothesis places the artist at the generative centre, to inform the game designer how art may inform our DeRe semiotic spaces. This must of course begin with the artists’ understanding of DeRe in this time when our ‘identities are becoming increasingly fractured, networked, virtualized and distributed’ We hope to persuade artists to engage with the medium of computer game technology to explore these issues. In particular, we pose several questions to the artist: (i) How can particular ‘periods’ in art history be used to inform the design of computer games? (ii) How can specific artistic elements or devices be used to design ‘signs’ to guide the player through the game? (iii) How can visual material be integrated with other semiotic strata such as text and audio?